Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Eunsong Kim is Associate Professor of English at Northeastern University.
Inhaltsangabe
Prelude. On Motivations ix Acknowledgments xiii Introduction 1 1. Personal Collection and the Museum Form: Racial Capitalism, Settler Colonialism, and the Legacies of the Homestead Strike of 1892 33 2. Scientific Management and Conceptual Art: The Invention of the Artist Manager 62 3. Whiteness as Property and Found Object Art: Collecting and Canonizing Marcel Duchamp 92 4. Whiteness and the New: Neoliberalism and the Building of the Archive for New Poetry 118 5. Colonially Bound, Digitally Free: On the Distance between Object and Image 146 6. Neoliberal Aesthetics: The Legacies of the White Modernism 178 Coda. On Inoperation and Glory 208 Notes 215 Bibliography 273 Index 295
Prelude. On Motivations ix Acknowledgments xiii Introduction 1 1. Personal Collection and the Museum Form: Racial Capitalism, Settler Colonialism, and the Legacies of the Homestead Strike of 1892 33 2. Scientific Management and Conceptual Art: The Invention of the Artist Manager 62 3. Whiteness as Property and Found Object Art: Collecting and Canonizing Marcel Duchamp 92 4. Whiteness and the New: Neoliberalism and the Building of the Archive for New Poetry 118 5. Colonially Bound, Digitally Free: On the Distance between Object and Image 146 6. Neoliberal Aesthetics: The Legacies of the White Modernism 178 Coda. On Inoperation and Glory 208 Notes 215 Bibliography 273 Index 295
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